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Presents March 14, 2021 Doug Oldham Recital Hall MUSIC

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Presents March 14, 2021 Doug Oldham Recital Hall MUSIC presents March 14, 2021 Doug Oldham Recital Hall MUSIC 170 5:30 PM Strike the Viol Henry Purcell (1659-1695) Music for a while Henry Purcell (1659-1695) ~~~~~~ Pieta, Signore! Allessandro Stradella (1645-1682) O del mio dolce ardor Christoph Willibald von Gluck (1714-1787) Voi che sapete Wolfgang Amadeus Mozart from Le nozze di Figaro (1756-1791) ~~~~~~ An die Musik Franz Schubert (1797-1828) Lachen und Weinen Franz Schubert (1797-1828) Lied der Mignon Franz Schubert (1797-1828) ~~~~~~ Chanson d’amour Gabriel Fauré (1845-1924) Beau soir Claude Debussy (1862-1918) ~~~~~~ My God is So High Spiritual arr. Hall Johnson City Called Heaven Spiritual arr. Hall Johnson Strike the Viol Strike the Viol is the fifth movement of “Come ye Sons of Art” or “Ode for Queen Mary’s Birthday”, a composition written in 1694 by Henry Purcell; one of a series of odes written to honor the birthday of Queen Mary II of England. It was originally written for male alto or counter tenor, but the voice part was raised an octave in relation to the bass. The entire song was then transposed to suit our modern-day voices. The ode was originally scored for 2 recorders, 2 oboes, 2 trumpets, timpani, strings, basso continuo, and a choir with soloists on each voice part. This “striking” song is a call or command to sing and play instruments! Music for a While This text is derive from John Dryden’s play Oedipus: A Tragedy written in 1678. In 1692, Purcell set parts of it to music. The words are taken from Greek mythology and talks about the power of music. Alecto, as you will hear sung about in the middle of the song, is one of the Furies, a minor deity whose role was to punish mankind for specific crimes. The Furies are portrayed like Medusa as having snakes for hair and having blood that dripped from their eyes. In his masterful treatment of this text in setting it to music, Purcell turns the device of basso ostinato, or “stubborn bass” what he called a ground. This involves the repetition of a very simple theme in the bass, with elaborations. Purcell is considered a master of the ground with over 87 examples of its use being catalogued among his works. Pieta, Signore! Although the true composer of “Pieta Signore!” is unknown, it is attributed to Alessandro Stradella. It is a plea to God for mercy that in His mercy He would keep us from being tortured by fires eternal. Set in a minor key, the song starts with an almost ominous bass line in the piano. This paired with a slow, sincere tempo, makes it feel as if the singer is truly repentant of their sins and scared of being cast out of the Lord’s favor. The profound sentiment of this song is appropriate all the year long, but it seems especially appropriate in the season of Lent when Christians reflect on themselves, repent of their sins, and prepare for Christ’s resurrection! Have mercy, Lord, on me in my remorse! Lord, have mercy if my prayer rises to you; do not chastise me in your severity, less harshly, always mercifully, look down on me. Never let me be condemned to hell in the eternal fire by your severity. Almighty God, never let me be condemned to hell in the eternal fire by your severity. O del mio dolce ardor “O del mio dolce ardor” is a declaration of love aria from Act I of Paride ed Elena, an opera by Christoph Willibald Gluck. This opera was the third and final of Gluck’s “reform operas” for Vienna, where it was premiered in 1770. For many years this song was wrongly attributed to Stradella, but more recent research has found Gluck to be the true composer. Oh object of my burning sweet desire, at last we breathe the same air. Wherever I turn to look love paints your image in my mind. My thoughts are filled with happy hopes and in the longing which fills my breast I look for you, I call for you - I hope and I sigh. Voi che sapete Voi che sapete is a lively aria from Mozart’s Le nozze di Figaro (The Marriage of Figaro, an opera buffa (comical opera). It is sung by the love crazy “Cherubino” who is experiencing new and overwhelming feelings that he believes to be love. He is asking for help, asking ladies who know what love is to examine his “symptoms” and see if he is indeed in love. Synopsis: After Cherubino arrives in his new military uniform, he sings a plea to the Countess and Susanna describing how much love he has to give. You ladies, who know what love is, see if I have it in my heart! I'll tell you what I'm going through, it's new to me; I can't understand it. I feel a liking full of desire that now is pleasure, now is agony. I freeze, and then feel my soul burning, and in another moment go back to freezing. I look for a good outside myself, I don't know who has it, and I don't know what it is. I sigh and groan without wanting to, I quiver and tremble without knowing it, I find no peace night or day, and yet I like suffering this way! An die Musik Franz Schubert composed “An die Musik” in 1817 with words from a poem by Franz von Schober. It is essentially an ode to music and is one of Schubert’s most well-known works. It has lovely harmonic simplicity, and a sweeping artful melody. O gracious Art, in how many grey hours when life’s fierce orbit encompassed me, hast thou kindled my heart to warm love, hast charmed me into a better world! Oft has a sigh, issuing from thy harp, a sweet, blest chord of thine, thrown open the heaven of better times; O gracious Art, for that I thank thee! Lachen und Weinen This text is from a collection of poetry entitled Ostliche Rosen or Oriental Roses by Friedrich Rückert published in 1821. This poem was originally left untitled, but later, in 1837, Rückert gave it the title “Lachens und Weinens Grund” (“The Reason for Laughter and Weeping”). When Schubert composed the setting in 1822, he shortened the title to “Lachen und Weinen” (Laughter and Weeping). In the piano part we can hear a fun melody with short, running eighth notes which sounds like laughter! Laughing and weeping at any hour, with love comes from so many things: this morning, I was laughing for joy, but why I weep now in the evening light, I do not know myself. In the evening, I can weep for grief, but why I awaken in the morning filled with laughter, can I only ask you, O heart? Lied der Mignon In 1826, Schubert set this poem, from Goethe’s novel Wilhelm Meister, six different times in various instrumental and vocal combinations. The text comes from the end of Book 4 of the novel and is a duet between Mignon and her estranged father, the Harper. It is a song of longing and suffering. Only he who knows what yearning is knows how I suffer! Alone and cut off from all happiness. I look up into the sky towards yonder side. Alas! He who loves and know me is far away. I grow dizzy. I am inwardly inflamed, only he who knows what yearning is knows how I suffer! Chanson d’Amour “Chanson d’amour” or “Love Song” was composed in 1882 by Gabriel Fauré, and was dedicated to Mademoiselle Jane Huré, the soprano who first performed this song in December of 1882. The text is a poem written by Armand Silvestre, who was often criticized for being sentimental and writing poetry lacking in depth. Fauré worked easily with his poetry, however and composed ten melodies and one choral work using Silvestre’s verses. In this setting, Fauré lengthened the poem by taking the first four lines and using them as a refrain. I love your eyes, I love your face, o my rebellious, o my fierce one, I love your eyes, I love your lips where my kisses will exhaust themselves. I love your voice, I love the strange gracefulness of everything you say, o my rebellious one, o my dear angel, my inferno and my paradise! I love your eyes, I love your face, I love everything that makes you beautiful, from your feet to your hair, o you, to whom ascend all my desires! Beau soir “Beau soir” (Beautiful evening) is a beautiful art song with text by Paul Bourget, and music composed by Claude Debussy. Debussy composed “Beau Soir” around twenty years of age, and it is difficult to recognize much of his characteristic musical style in this early mélodie. In the free- flowing triplets in the piano part, the listener is made to envision waves on the sea, or a warm breeze over a field of wheat in a glowing sunset. The piano’s triplets contrast with the voice’s duplets which drive the gentle and light melody. This contrasting rhythmic partnership create the sensation of peace one might feel on a summer evening. As every evening fades, so does this musical mood of this song which modulates from C major to D minor where the melody then heads for the climax; the highest note of the song which is sustained on the word “beau”. This combination of text and melody may powerfully depict the beauty of the sun.
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